Monday, February 12, 2018

(Belated) Friday Art Attack


This seems to be the new look of Orcus, here dominating an Elder Brain of the ilithids.  I do kind of like him with his look hybridized with that of Anthraxas a bit.  Sure.


All of this ISLES OF TERROR business has me feeling sympathetic to the snake-men.


A servitor of Demogorgon, I'll bet.  Looks tough.


This is one of the most unusual illustrations I can think of; a skeleton buried in another daemonic skeleton of some kind?  I dunno, but man, do I like it.


When dealing with fantasy, don't forget to not skimp on fantastic locations.  These cliffs with weird bird-headed sphinxy statues ever few hundred yards or so along the coast certainly qualifies.


Undead dragons.


Good ole-fashioned hard sci-fi.


Why shouldn't modern pulp pay homage to one of the most famous pulp art covers of all time, even if it was originally meant for overtly sword & sorcery fantasy?


An alternate design for Darth Vader.


I kinda like the boxy, utilitarian shape of this space freighter.


Flying ships are always cool.  I had a whole campaign built around the concept once.  I take that back.  I've done it twice.


I kinda wish Star Wars had gone more this direction.



Although this looks like Tarzan at the Earth's Core... actually, it could be, I suppose.


Soldiers disrupting a cult of Dagon and/or Cthulhu. 


There's a lot going on in this picture; it really kind of looks like two or even three pictures photoshopped together.  But it's not.


Good villains make a good story or campaign, either one.


More Cthulhu-esque adventuring.  Always one of my favorite kinds.

Deconstructing the Serpent's Skull 6: Sanctum of the Serpent God, part I

It's been several weeks.  Let's get this project moving a little bit again.  Some elements of this adventure path I've quite liked (the overland journey and the exploration of the city were very nice) while the underground parts I mostly dreaded; only to find that so far it wasn't quite as bad as I feared.  Adventure #5 was a city exploration not unlike what we saw in earlier chapters, just... underground.

Number 6: Sanctum of the Serpent God is the end of the series.  Here's the official summary, as normal.
Having rescued Eando Kline from the serpentfolk prison in “The Thousand Fangs Below,” the PCs have the opportunity to converse at length with the Pathfinder and learn the full extent of the serpentfolk high priest Vyr-Azul’s plans to restore Ydersius—courtesy of the prolonged interrogation Eando suffered at the priest’s hands. Coupled with the PCs’ growing understanding of Saventh-Yhi’s history and the age-long battle between the Azlanti and the serpentfolk, this news proves dire indeed. For if Azlant at the pinnacle of its civilization struggled so mightily against the serpents, what chance does humanity stand now if Ydersius returns? 
Faced with this grim realization, Eando urges the PCs to form their own army from the tribes and factions occupying Saventh-Yhi and Ilmurea in the hope of duplicating Savith’s feat and ending the serpentfolk threat. By leading these troops against Ilmurea to draw out Vyr-Azul’s growing army, they can then sneak into the Sanctum of Ydersius and disrupt the snake-god’s restoration. Eando also tells the PCs of an ancient Azlanti weapon still in Ilmurea that they can recover to use against the serpentfolk. 
In search of this ancient weapon, the PC once more venture into Ilmurea, delving into an ancient serpentfolk structure called the Hunters’ Maze, now inhabited by urdefhans and their daemonic allies. There, the PCs discover that this “weapon” is in fact an ancient cyclops general from Savith’s time, preserved through the millennia in temporal stasis, who holds the knowledge of how to activate Saventh-Yhi’s seven spears as a weapon against Ilmurea. With this new ally, the PCs return to Saventh-Yhi to gather their army for the final assault on Ilmurea. 
During these preparations, a group of assassins—sleeper agents known as the Coils of Ydersius—try to kill the PCs and disrupt their plans. After surviving this latest threat, the PCs can f inally activate the seven spears, which burrow into the ground, making a path for their army to invade Ilmurea. 
As their army clashes with that of the serpentfolk, the PCs infiltrate the temple fortress known as the Sanctum of Ydersius. There, they must win their way past ancient traps and guardians until they finally meet Vyr-Azul in Ydersius’s inner sanctum before the Chasm of Retreat. Even as they battle the high priest, Vyr-Azul completes his ritual and calls Ydersius’s body, now reunited with his head, from the Darklands. But defeating Vyr-Azul is only a precursor to the arrival of the snake-god. This final confrontation pits the PCs against Ydersius himself as his avatar erupts from the chasm and onto the field of battle, with the fate of both the serpentfolk and humanity hanging in the balance.
You'll notice a few things, maybe.  First; this summary sounds an awful lot like the end-game for the Sertrous chapter in Elder Evils.  I can't help but wonder if it wasn't heavily influenced by it.  Although it's funny that the PCs don't know anything about it until this last adventure in the chapter.  Someone missed a serious opportunity for some foreshadowing.  If you're not even going to foreshadow, don't do BBEG save the world type adventures, in my opinion.  Tacking one on as the last chapter in an arc that was about other stuff earlier feels forced and weird.  Secondly, if there are sleeper agents; serpentfolk reincarnated into humanoid bodies—really, aren't we stepping on the concept of the yuan-ti a little too much here?  It's a problem I have with D&D in general; that it takes a good concept, and then makes half a dozen or more versions of the same concept, until you're wondering exactly why you have so many of them and how you're supposed to figure out how to do anything with more than one of them.

A monkey man recruit?
There might be a rationale for it that isn't insane, though—given that most versions of D&D (except OD&D and maybe some versions of BD&D) are fairly rules-heavy games, having different versions of the same concept gives you some rules variety which gives you options as a DM to "flavor" the encounters with certain mechanics elements that may be different from each other.

Given my own use of a rules-lite alt.D&D, I have much less need for this.  Initially I wasn't even going to have snakemen at all, and just use lizardmen stats to represent them, although I've since (admittedly somewhat reluctantly) added them in my little optional supplement post.  I've given them a totally different backstory though, as descendants of Medusa (and her own lesser descendants, the medusae) and with a slithery snake tail rather than legs.  I also don't know if I'd have humanoid snake-spies as this does, and certainly I won't have any that are based on the concept of the reincarnation spell and how it differs from any other raise dead spell—FANTASY HACK eschews the concept, for the most part, entirely.

PART ONE: THE DANGER BELOW
Here's where Eando Kline spills the beans about the plot to resurrect the serpent-god Ydersius and conquer the surface people.  Why can't we just sneak in and kill Vyr-Azul? the PCs may ask.  Kline says, well, maybe you could have, but since you rescued me and I've been recovering from my captivity for several days, now you can't—no more surprise, plus they will have reinforced everything.  Thanks for giving us the heads-up while we were down there, Kline buddy.  You're a real hero.  In general, this is one railroad after another.  Granted; it's hard to write adventures that don't take on elements of railroads, but it's frustrating that Paizo doesn't really even try.  Sigh.

PART TWO: THE HUNTER'S MAZE
This is the search for the secret weapon, mentioned above.  It seems a little cheap to say that, oh, oops, the urdefahn from before were actually split in two, and there's a whole 'nother population of them in this section of the city that you didn't know anything about before, but that's how they do it.  These guys seem like they're more savage, as there's no expectation that you do anything other than "clear them out" and kill them, and their jackal-daemons and "proto-shoggoth" too.  There are stats in this section for the proto-shoggoth, lots of urdefahn soldiers, the jackal-daemons, mohrgs (undead urdefahn, in this case) and a few other daemon types—a lanky fish and tentacle daemon, and a spitting frog-daemons. and the urdefahn captain, or general, or whatever you want to call him.

PART THREE: FORGING THE ALLIANCE
There's a backstory as to how snakemen reincarnated as humans will start turning up, although I personally doubt that the backstory matters very much or that there's a naturalistic way to spill it to the players.  In any case, there are relatively high level assassins lurking among the NPCs, and four events are given that you are to work in as you see fit to have assassination attempts on the PCs, while they are alone.  These events are, in order:
  • SPARRING SESSION: Using mass suggestion, some of the NPC troops convince (supposedly) a martial character in the group to practice with them late at night, and they fight for nonlethal damage and the honor of fighting such a heroic figure.  Once the PC is worn out from this exercise, the assassin attacks.
  • CURIOSITY KILLING: a studious PC is lured into investigating a wall carving that is supposedly haunted but which has information that will be useful to their coming campaign, but which can only be accessed by one with Azlanti blood.  All of this is just illusions and telepathy, and the PC is ambushed while alone.
  • DRESSED TO KILL: Disguised as a native, this is a honey-trap for the most charismatic PC, and he'll be ambushed while "in the throes of passion."
  • WARTIME CONVERSION: A fake heathen native approaches a religious PC wanting to be told about his religion.  Again; opportunity for solo ambush.
The remainder of this section discusses getting the various explorers who still survive to join your army.  This is meant to be fairly generic, as obviously the writer doesn't know what your group did in the last two adventures with each of these factions.  You can also approach any of the native tribes.  Of these, the troglodytes and the vegepygmies are the hardest to recruit, but none of them are particularly keen on the idea of invading an underground snake-man city.  They may well have better luck with the natives of Ilmurea explored in the last module.  These armies will, by definition, be fairly ragtag; humans, trogs, monkey-people, frog-people, morlocks, urdefahn, etc.  I know that it's kind of a meme that the ragtag, motley Diversity Is Our Strength™ army is actually desirable, this of course, flies in the face of anyone who actually knows anything at all about military history.

The PCs can then activate the "spears" up above, and they drill down through the ground to Ilmurea, leaving spiraling ramps that reach the enemy forces.  It also shines a bright light on the city, and blocks the teleportation gates so the snakes can't escape.  If the PCs armies aren't ready to march immediately, this seems like a bad move, but y'know.  The writer is an RPG module writer, not a military tactician.

Part Four details the invasion of Ilmurea and the conclusion of the adventure, although of course, in typical D&D fashion, the army that you lead has to fend for itself while the PCs for a special strike force to go do D&Dish things.  Again, it's just assumed that you somehow will browbeat our PCs into accepting what they're "supposed" to do, although ther's not much advice on how this is to be done.  In any case, I'll detail part four in the next post, and then we'll finish our review of all the modules.  After that—figuring out what to do with all this stuff!

Best of? Hardstyle Edition

I've made my 7th Hardstyle megamix (following the tracklist laid out earlier, minus the last track, which I didn't have room for.)  I've also made my 1st Hard Trance megamix.  Although I've thought it kind of fun to deal with the Excel sorting, I do have to wonder if maybe I'm getting so excited about making megamixes that I'm not being selective enough, and that I'd enjoy it more if I truly made stuff that was Best Of, with fewer but maybe longer mixes.

In that vein, if I were to consolidate my Hardstyle stuff to the stuff that really is my favorite from the genre, what would I have in it?  Twenty to twenty-five (I ended up with 45.  That's at least two big two-hour mixes) or so tracks; two hour mixes, I think.  This one will be hardstyle.  I'll do another one for hard trance, but I might want to wait until I've gotten a little more used to the tracks I have, many of which I haven't listened to enough to know for sure if it's one of my favorites or not yet.  In no particular order...
  • Activator - "Italian Hardstyle"
  • K-Traxx - "Noise Tool [Technoboy Remix]"
  • Zatox - "Tanz Elektrik [R3belz Remix]"
  • TNT - "Double Dutch Darkies"
  • Builder - "Her Voice [Headhunterz Remix]"
  • Scope DJ - "Rock Hypnotic Again [2011 Refixx]"
  • K-Traxx - "Hardventure [Technoboy Remix]"
  • Technoboy - "Put Some Grace [In Your Face Mix]"
  • Tatanka - "WTGD"
  • Coone - "Starf*ckers"
  • Brian M & MC Bunn "The Dub We Play"
  • Headhunterz - "Rock Civilization" (Ed. I prefer a cut and paste between the basic and the Technoboy Remixes)
  • Blutonium Boy - "Floorkilla [Nik Import Mix]
  • Francesco Zeta - "Rock N Rave"
  • TNT & DJ Isaac - "CTRL"
  • Wildstylez - "The Moon"
  • Ed E.T. & DTR vs Hatom - "Feel the Vibe"
  • Da Tweekaz - "Twerkout Revolution"
  • Da Tweekaz - "#Tweeky16"
  • Cally & Juice - "Drop the Beat [Ed E.T. & DTR Remix]"
  • Flarup & Activator - "Wicked"
  • TNT - "Pulsation"
  • Technoboy - "Rage (A Hardstyle Song)"
  • Speedwave - "Junior [First Switch Mix]"
  • Blutonium Boy - "Hardstyle Superstar [B-Boy Mix]"
  • Headhunterz & Wildstylez - "Blame it on the Muzic"
  • Tuneboy ft. E-Life - "Devotion"
  • Headhunterz - "D-Tuned"
  • Project One - "Rate Reducer [Headhunterz RMX]"
  • Donkey Rollers - "No One Can Stop Us"
  • Showtek - "The Colour of the Harder Styles"
  • TNT - "First Match [Badmind ft. DJ Picci Remix]"
  • Philippe Rochard meets Nu-Pulse - "The Survivors of Hardstyle"
  • Showtek - "Black"
  • Project One - "Life Beyond Earth"
  • Headhunterz - "Sacrifice [Brennan Heart RMX]"
  • The Prophet - "Emergency Call"
  • The KGB's - "Channel KGBs [TNT Remix]"
  • The Raiders - "Miss Kidman On a Cruise [Eyes Wide Style Mix]"
  • The Juvenile - "Hardcore Suckas [Trance Generators Remix]"
  • 2 Best Enemies - "Les Drums [TBY Mix]"
  • Blutonium Boy vs DJ Neo - "Hardstyle Nation [Blutonium Boy Hardstyle Mix]"
  • Davide Sonar - "Natural"
  • DJ Phil Ty - "Miami Belch [Polite Mix]"
  • Droid - "Focus [Reversebass Mix]"

Thursday, February 08, 2018

Hard Trance mix #1

I ran the first Excel output for some hard trance (and "hard trance") mixes.  I ended up picking 12 songs, but I may not be able to for most future mixes.  I still haven't decided exactly where my cut-off will be.  If my average track length really is 7:45 (that's just a handwave guesstimate) then at twelve tracks, my average megamix will be 93 minutes long; about twenty minutes longer than my hardstyle megamixes.  If I end up cutting on average about a minute from intros and outros, which seems reasonable, however, I'm at 81 minutes which is close enough.  If that ends up flexing up to 10-12 minutes each way depending on track length, I can live with that.

But those numbers may be complete BS.  I really don't know yet.  But I've got at least one sample, now.  Here's the results.  A small number of these tracks have already been edited or otherwise manipulated a bit by me from what is normally available; on the Jimmy the Sound track, for instance, I found a brief section where the bassline and the percussion were on different downbeats gave me a headache, so I cut and blended it already.

I should also point out that my name convention is to put remix subtitles in brackets.  Most people do this in parentheses, but there are a number of songs that actually have subtitles in parentheses, which is a problem.  Something like A Flock of Seagulls "Wishing (If I Had a Photograph of You)" is a great example; any remix of that song would have the remix title in brackets, which would make more sense.

Anyway, without further ado:
  1. Arome - "Here We Go [Midnight Mix]" 8:45
  2. Underworld - "Cowgirl [Tim Davison Remix]" 8:21
  3. DuMonde - "Never Look Back [Tiesto Full On Vocal]" 8:26
  4. Jimmy the Sound - "M.O.D.U.L.O. [One Vrs Edit]" 6:27
  5. Kai Tracid - "Trance & Acid [Derb Remix]" 6:59
  6. The Juvenile - "Hardcore Suckas [Trance Generators Mix]" 6:22
  7. Blank & Jones - "DJs, Fans, and Freaks (D.F.F.)" 6:44
  8. Avatar - "Red Planet [DJ Wag Remix]" 7:05
  9. Immersion - "My Name Is Acid" 9:00
  10. A*S*Y*S - "Monster 303" 2:59
  11. High Voltage - "Bombs Away" 6:03
  12. DJ Wag - "Life On Mars [DJ Wag Mix]" 7:53
If you're paying attention, you'll have noticed that in the past I've put that Jimmy The Sound song in a hardstyle mix, and I've actually got "Hardcore Suckas" scheduled to go on my next hardstyle mix too.  Well, I've always said that a few early hardstyle tracks are kind of indistinguishable from hard trance of the same general era, so I have maybe a dozen or two or so tracks that are kind of "switch hitters" if you will.  The fact that two (three; "Bombs Away" is usually considered Early Hardstyle too) of them came up, including one that I'm using in my hardstyle mix, was a complete coincidence of the randomization process.  As is the fact that the Underworld song came up which isn't trance, acid, or hardstyle, but which is one of the very few "other EDM style" tracks that I have on the list.  And the Immersion song isn't acid trance, it's just plain ole British acid.

Another odd coincidence is the fact that I have two songs with a Mars theme; one of them by DJ Wag and the other remixed by DJ Wag.  That's a better coincidence than having three or four A*S*Y*S songs, like a few other early trials had, so I'm leaving it as is.

The total time, if I didn't screw up my math, is 1:25:04.  Considering that one of the tracks is among the shortest I have in this list, I may have to cut it back to 10-11 tracks for the future.  I can do that while manipulating my sort lists, though, to make sure that they come out to totals no less than 1:15:00 and no under 1:30:00.  When I've cut intros and outros a bit to combine them into a megamix, it'll almost certainly take five to ten minutes off of the total of each.  Maybe even a bit more.  So I'll probably run more than ten songs each time after all.

Here's another trancy image to send you on your way...


New Megamixes

I'm on track very shortly to have enough hardstyle material ready and selected to make probably three or four more megamixes. My draft tracklist for Hardstyle Megamix #7 is the following:
  1. The KGB's—"Channel KGBs [TNT Remix]"
  2. Noisecontrollers—"E=nc² [Original Mix]"
  3. Technoboy—"Into Dub"
  4. The Raiders—"Miss Kidman on a Cruise [Eyes Wide Style Mix]"
  5. The Juvenile—"Hardcore Suckas [Trance Generators Remix]"
  6. Alpha² & Wildstylez—"Atrocious"
  7. 2 Best Enemies—"Les Drums [TBY Remix]"
  8. Blutonium Boy vs DJ Neo—"Hardstyle Nation [Blutonium Boy Hardstyle Mix]"
  9. Davide Sonar—"Natural"
  10. DJ Phil Ty—"Miami Belch [Polite Mix]"
  11. Donkey Rollers—"Last City on Earth (In Qontrol Anthem 2008)"
  12. Droid—"Focus [Reversebass Mix]"
  13. Headhunterz vs Wildstylez—"Project One"
  14. A-Lusion—"Voodoo"
  15. The Prophet ft. Brennan Heart—"The Payback"
  16. Southstylers—"Trippp!"
If I run out of space before using all of those tracks, I guess one will have to be bumped to the next list.  That's OK.

If you look, you may well notice that I tend to favor Early Hardstyle over Nu-style (or nüstyle for maximum derogatory shiv-twisting.)  I do like some "earlier" Euphoric Hardstyle, and I do like some of the classic artists newer work—Technoboy, for instance, and his partnership TNT still do stuff I like (although I do like his earlier stuff even better, mostly.)  I still don't dig too much of the newer stuff, and I haven't really explored Rawstyle or Subground at all, although I'm interested to do so when I get more of a chance.  There's very little in my collection that's newer than 2009 or so in either hardstyle or hard trance—although not nothing.  

In addition to all this hardstyle, I've also got a lot of hard trance and a few other EDM songs that I'm throwing in even though they aren't specifically hard trance—some classic and progressive trance, some tech trance, some early hardstyle and stuff that gets sloppy labels like progressive house or techno, etc.  But mostly hard trance and acid trance by far.  I'm going to start doing megamixes of those two, and I'll let Excel randomize the track order for me.  I think I'll use ten to twelve tracks per megamix as preselected by Excel—regardless of how long each megamix ends up being that way.  Few of those tracks are less than 6 minutes, and many are well over 8 or even 9 minutes; I would guess that the average is about 7:45 or so.  If this is so, than my average hardtrance megamix will be a little bit longer than my hardstyle megamixes; but maybe not.  After all, as part of mixing them, I'll be doing some cutting of the intros and outros to blend them together a bit.  But by and large, these are longer tracks than my hardstyle material, which probably averages somewhere between 5-6 minutes each.

Right now I've got over 250 tracks sequestered for this project, which is... a lot, actually.  I don't know if I'll ever actually use all of them, or if I do, how long it'll take, because that's over 20 megamixes easy.  In addition to those already sequestered, I've got close to thirty more ready for analysis to see if I think they'll fit—and of course, I do continue to gradually discover more, even though I've greatly slowed down my looking for more so I can digest what I've found in the last few months.  Of those thirty, certainly not all will make the cut, but a lot of them will; I'll almost surely be up to 300 before I completely and totally stop.

Now, granted; that list includes a lot of versions of the same song sometimes.  For most, it's two or maybe three remixes, but I have at least two songs for which I have six versions ("Acid Nightmare" by A*S*Y*S and "The Answer" by Tommy Pulse.)  I actually have more versions of those songs, but the ones not on this list are either remixed into a different genre (such as El Grekoz's hardstyle version of "The Answer") or otherwise just don't make the cut as a real favorite.

For that reason, I'll probably have to massage the Excel output.  I ran a few trials and most of them tend to turn up too heavily representing at least someone; (often A*S*Y*S or Tommy Pulse, for that matter, although Cosmic Gate and Arome and Hennes & Cold get hit here too, just because I have so many tracks of theirs.)  One trial run even gave me two versions of the same song, which obviously won't do.  So, there'll be a little bit of manual adjustments of the output, but I do actually want to see what I get by more or less randomizing the output.  When I pick them myself, I tend to focus more on the tracks that I'm more familiar with or the groups that I know better, and "one-hit wonders" sometimes fall between the cracks.

Plus, I think it's fun putting these together.  And I'm getting better at it, if I do say so myself.  I really need to get an app other than Audacity that helps here, though.  Audacity is more for cutting, splicing and manipulating of tracks, but it doesn't do a great job of actually mixing them; i.e. blending one into the other, since there's no BPM synch tool, which would be a bare minimum requirement to make it a good DJing program.

However, Mixxx is freeware and is supposedly as good at what it does as Audacity is at what it does.  Between the two of them, I can probably—hopefully—really do something special.

Just for the heck of it, here's a weird photoshopped wallpaper of gigantic planets in the sky.  I don't know why trance music is associated with these kinds of images, but it clearly seems that it is, so when I see one, it makes me want to dance.


Tuesday, February 06, 2018

Goth Sullus stand-alone novel

So, I recently started reading the Goth Sullus stand-alone novel, a spin-off of the Galaxy's Edge series, called Imperator.  Goth Sullus is (so far) the only character who can use TheForceNotTheForce in this StarWarsNotStarWars—although there are clear indications that that's going to change soon; Wraith's HologramNotHologram (OK, I'm probably over-using that meme by now) Ravi is all set to teach the little girl how to use the LightSideNotLi...  Well, you know what I mean.

I think it's interesting the approach that Anspach and Cole took with their ersatz Force.  Rather than it being something like the chi in a Japanese karate game, where all kinds of characters can throw fireballs at each other while karate-fighting, or whatever (which is in most respects, a closer analog to the Force in Star Wars than Western magic), it's more like The Ring.  Only one person can use it, and it corrupts him to use it.

Whether the same will be true for Prisma Maydoon, and what exactly is the story with Ravi anyway, of course, remain TBD, at least to the audience, although I expect the authors have a plan for that specifically.

No, but what I really want to talk about is how it occurs to me that there isn't any point in explaining your Fake Force, I think.  Cole has talked about that before in some podcasts and elsewhere; the idea that you don't need to explain stuff that is already a cultural touchstone by now.  How do spaceships travel the vast distances of space?  Who cares?  They do.  They did in Star Wars.  They did in Star Trek.  They did in every freakin' space opera that anyone's ever read, seen, or heard about, and given the cultural ubiquitousness of Star Wars by now, it doesn't need to be explained.

Magic, even less so.  It goes back much longer than space travel as a cultural touchstone, and all Uncle Owen had to do was call Ben Kenobi an old wizard, or that one Death Star officer call out Vader's "sorcerous ways" for us to get the point.  Now, granted, it may be unexpected to have magic and space travel in the same story, but not really.  It's very easy to get over that, and with the exception of the movement in science fiction to brand all non-hard science fiction as not science fiction—a movement pioneered by a bunch of butthurt soyboys who resented the jocks for not acknowledging their superiority due to their alleged greater intelligence, mostly—nobody much has much cared about having magic in space before.  The literature of imagination isn't limited to men with screwdrivers, just as it isn't limited to hippies who believe that they're out of their proper place in some temporal stream.  Most people love good adventure stories with all kinds of exotic and interesting things to see; and this isn't just a feature of the pulps; literally almost all of literature prior to the modern age is made up of this exact same kind of story.  In fact, our rejection (at a higher, generic cultural level) of the stories of confident heroes boldly striding through exotic and dangerous foreign climes and conquering them with a combination of his wit, will, luck and strength can, in retrospect, clearly be seen as a early canary in the coal mine of cultural decadence and decrepitude; the hallmarks of a culture that is no longer healthy and is on its way to collapse if there can't be a renewal and repentance of the false "values" that we've embraced since then.

Anyway, that's a bit deeper than I meant to go; I really merely meant to say—yeah, in AD ASTRA there's a magical power, if you will.  There are psionic knights, and there are warlocks, and whatnot.  Although I have a handwavey semi-scientific explanation for how that might be, I'm almost certainly not going to bother with it, unless I can think of an interesting narrative specifically to tell that utilizes it.  Otherwise, it just is, and... well, why not?

EDIT: As an aside, while reading the first few novels of Galaxy's Edge, I would often listen to Star Wars soundtracks in the background.  My favorite here was the Old Republic soundtrack, actually, which sounds like Star Wars, but which doesn't have specific cues that are tightly linked to the movies—like the actual soundtrack does.  Now, I find that I'm listening to a lot of hard trance, which often has a science fiction theme.  In fact, I'm literally listening to some Pacific Link tracks like "Espace", "Planetary Collapse" and "Rings of Jupiter" while reading about Goth Sullus (before he picked up that name) crashlanding in the jungle.  In at least two remixes each.



ADDITIONAL EDIT: It's interesting right about there; discogs calls "Espace" both Hard Trance and Hardstyle.  To me, "Rings of Jupiter" sounds the most overtly hardstyle; especially if you listen to the original (as opposed to Luca Antolini) remix.  Keep in mind that Pacific Link was literally the same set of guys from the Saifam group who did, for instance, the KGBs, K-Traxx, Speedwave, Builder, etc.—in other words, the founders of Italian hardstyle. 

But it goes to show you that the dividing line between some hard trance and early hardstyle is literally quite impossible to find.  "Espace" calls itself the Hardstyle Mix 2 (there's also a Hardstyle Mix 1) but it sounds more trancy; "Rings of Jupiter" calls itself hard trance, and discogs calls it that too, but by sound, it's got reverse bass, some pitched kicks, and the screechy, scratchy sounds of Early Hardstyle.  It could have more pitching on the kicks to really be there, I suppose, but again—how can you really tell exactly where one starts and the other ends?

Friday, February 02, 2018

Friday Art Attack


Not sure what's going on here.  Castles, Nazis, zeppelins, space marines and lasers?  Sign me up, whatever it is.


DAGON!  Wasn't I just talking about him?  This is a slightly different take on him; but not really.


RAWR!  This is the most exciting arena I've ever seen.  Manly men, hot, scantily clad women, gorillas and dinosaurs.  What's not to like?


Speaking of dinosaurs, I want to live in this city.  It's beautiful, it looks Mediterranean in climate, so the weather is probably nice.  And it's got domesticated dinosaurs.


I'm not sure why, but this piece of art has a file-name of Ulysses.  There's something to be said for converting classic stories into space opera, I suppose.  Either way, that guy is about as manly as anyone in space has a right to be.


Although everybody loves a good animated skeleton or vampire or mummy, when undead really get scary is when they go to war as an army of the dead.


Given my exploration of Out of the Abyss, it's probably cool that I'm rediscovering the classic D&D demon lords.  I mean, I'm not really rediscovering them, because I never lost them, but I'm spending more time "with them" lately, so here's some art of Yeenoghu and his children.


Sometimes when robots go bad, they go really bad.  Then again, maybe he's actually saving that guy?  Doing some cybernetics to augment him?  I doubt it, but one never knows for sure.


Although admittedly kind of cartoonish, this isn't a bad reminder that the original Martians of War of the Worlds were weird, Lovecraftian critters.  Before Lovecraft.


What is this exactly?  Cyberpunk?  Or fantasy?  Power armored soldiers with lightsabers fighting demons in the ruins of Seoul?  Again; sign me up, whatever it is.


Pretty classic.  Sometimes you just need a werewolf.  Those abs, though.  What is this, a romance novel cover?


I've long been a fan of the Headless Horseman.  Washington Irving made a grave mistake, I think, when he made The Legend of Sleepy Hollow explainable instead of being an actual ghost story.  It's better as a ghost story than as the story of country boy hijinks.


Ouch!  Don't mess with the necrons!  Maybe he's got a grenade in his hand that he'll still blow up and go out in a blaze of glory?  It kind of looks like it.


A hot chick and her sabertooth pet.  What's not to like?


I have a fondness for this kind of art, where someone photoshops an improbably close planet filling the sky into another scene.  For whatever reason, I've seen tons of these kinds of pictures associated with trance mixes on Youtube.  Someone decided that cheesy space wallpapers means trance.  As a fan of both, I can't say that I'm complaining all that much, though.


I don't know that the yuan-ti are often associated with semi-Aztec visual cues, but why not, I suppose?


And after Yeenoghu, why not Zuggtmoy?  In my read-through of Out of the Abyss, I actually just read the chapter focused on her takover of a myconid colony.  The myconids, if you're going to have them, should be creepy and alien, not friendly and alien, so I'm a little... I dunno.  Not super pleased with the way it worked out, because the perverted, terrifying myconids should really kind of be what myconids are like anyway.  

Then again, I've always thought the notion of mushroom people and an evil mushroom goddess were kinda weird to begin with.

Thursday, February 01, 2018

Is Out of the Abyss D&D + Call of Cthulhu?






The flippant answer is that, of course, it depends on the GM and the players.  But, more than just about any other product that I'm aware of, it can be, and it's deliberately set up so that it should be.  In many ways.

It should be noted that anything with demons in it has been slowly approaching the CoC paradigm for many years now.  From the very beginning, demon lords like Juiblex were clearly influenced by notions like the shoggoth, although I suspect that the immediate inspiration for most demon lords (that aren't from the Judaean or Christian traditions) have more to do with the Elric Lords of Chaos stuff than anything else.  But there are notable similarities between the Lords of Chaos and the Yog-Sothothery tradition.

An early cameo was the mention of Dagon in the 1e Monster Manual II.  Dagon is, of course, an actual Philistine or Canaanite figure, but Dagon in D&D was always a wink and nod to Dagon of Lovecraft's The Shadow Over Innsmouth.  Finally, rather late in 3.5's life-cycle, we get him statted up and formally described, and he's exactly like the Lovecraftian version.  Also, this book finally gives us the obyriths—demons as described more by Lovecraft than by Christian traditions, complete with a form of madness ability that causes minor insanity.  Less clinical and complicated than the venerable CoC Sanity system, but clearly meant to employ the same vibe.

Now, in Out of the Abyss, we formally get all of the demon lords treated that way.  I don't even know if there's still the formal split between obyriths and tanar'ri or not (I lost track of most of what was official in D&D at the end of the 3.5 era) but if the Abyss (and its inhabitants) are supposed to be the domain of madness—chaos and evil—then why wouldn't they?  As I explained many years ago already now, it seems like Cthulhu himself is best seen as a demon lord, if he were put into D&D terms, and the notion of the Far Realm always did overlap with that of the Abyss anyway.  They are conceptually exactly the same thing, but aesthetically they haven't quite always been on the same page, because the Abyss has lots of Judeo-Christian demonology folklore involved in addition to its overt Lovecraftiana, whereas the Far Realm was "pure" Yog-Sothothery.

Then again, Lovecraft himself used Dagon, didn't he?  And ghouls.  He wasn't against using "traditional" horror elements if he thought he could get them to work.  So, in every sense, the dichotomy is a false one; but it seems I'm hardly the only person to have noticed that.  The designers, in an attempt to prune a cosmology run amok, have followed that same pattern in many respects.  Demons that are like shoggoths, demons that cause madness, and in general, a lessening of references and mentions of the Far Realm altogether.  I doubt it'll go away completely in D&D, because nothing ever does as long as it has some fans somewhere.  But it also doesn't need to be heavily promoted when there's really no reason for it to exist.

So, how does Out of the Abyss compare to CoC other than the notion that the demon lords are acting more like Lovecraftian Old Ones?  Let me quote some sections of this review for it briefly (I've corrected a few minor typos in brackets:
[T]his is the best look at the Underdark since Night Below – another amazingly well done campaign in a completely alien environment. In Out of the Abyss, the Underdark is creepy, weird, and danger lurks in the darkness…which is nearly everywhere since you’re underground. The foreword of the book says that Lewis Carroll’s writing was an inspiration for this slight reimagining of the Underdark but the end result feels more like something Robert Chambers would [write] – familiar and yet not at all right to our sensibilities. In fact, Out of the Abyss deserves an even closer comparison to the game Chambers is best associated with –Call of Cthulhu. 
Like Call of Cthulhu, Out of the Abyss tests the sanity of its PCs due to their encounters with strange and horrific beings beyond our usual comprehension. Why shouldn’t Demogorgon have the same effect as Hastur or Shub-Niggurath on a PC? I love that the Out of the Abyss team took this approach. Now the madness checks in Out of the Abyss are not the same as the ones you would have encountered in 2e/3e Ravenloft. It’s a much more simplified process, but it also allows for stacking mental disorders, which is always fun. It is very easy to turn Out of the Abyss into a horror campaign rather than your normal fantasy D&D campaign and I dare say you are doing yourself (and your players) a disservice if you DON’T run it as one. 
And here's some more:
For gamers who have braved things like The Tomb of Horrors, Beyond the Mountains of Madness or adventures with that 1970s/80s flair of “your character is probably going to die horribly at some point,” Out of the Abyss will no doubt trigger some fine feelings of nostalgia for you. That isn’t to say that Out of the Abyss is geared only towards gamers who caress their copies of OSRIC lovingly, but that those gamers will probably get the most out of this campaign because they know what to expect. This not only makes Out of the Abyss a great way to get older gamers who have, until now, steadfastily refused to try anything D&D without the TSR stamp on it to finally give 5e a try, but it’s combination of 1e aesthetics, Second Edition’s use of horror and alien imagery and 5es easily understandable ruleset makes this a fantastic choice to bridge the generation gap between the different D&D fans in your family and/or friend group.
It's curious that he tracks Tomb of Horrors and Beyond the Mountains of Madness as having the same "flair" which I disagree with.  The only thing both have in common is that it's likely many PCs will die playing it.
Appendix D is “Demons” and here is a little taste of what a 5E Fiend Folio [would be like.] [...] Here you’ll find tips on how to play the [monster] as well as the action they can (and will) take when in their base of operations. The second is “Regional Effects” and how the[y] warp reality in their local vicinity. Now by local I mean between one and ten MILES depending on the demon. Hey, you’re dealing with otherworldly creatures that have between three and five HUNDRED hit points and an AC of at least 18 (but usually 20 or over). These things are powerful, even if you are a level 15 Mage. This section is really well done and even if you don’t ever play on playing, it might be worth picking up just to see how the demons are designed. So spoilers of sorts – here are the eight demons in the book: Baphomet, Demogorgon, Fraz-Urb’luu, Graz’zt, Jubilex, Orcus, Yeenoghu, and Zuggtmoy. They’re all fun and the art is fantastic. I won’t be surprised is some people find a few of these to be more than a little similar to some Mythos or Warhammer deities though.
To be fair, I think this is part of the reason why I like this adventure/campaign so much, but I also admit that I like the format much better than, say, the overly detailed Adventure Path paradigm.

Wednesday, January 31, 2018

New Ad Astra star system data sheets incoming

Well, it's been a quiet week or two for me on the blogging front, but I've actually been extremely busy doing other things.  One of those was revisiting my big New Alderamin sector map and adding a bunch more names.  Pretty much the entirety of the systems in the southern half of the map have names now (although considerably less than half of those have data sheets.)

It was never my intention that all of the systems on the map have a data sheet, or even (necessarily) a name, but I did always intend to detail with data sheets, the systems of the major southern colonies—Outremer colonies, Bernese, and Revanchist Republicans alike—as well as their nearest neighbors of independent systems and whatever else happened to be around them.  I'll probably not detail the Reaver worlds or the Altairan Confederacies.  Certainly I won't as part of this wave, although I may end up getting to it later.

Anyway, here's the map again, with the most updated names input.  I'd really like to redo this map in another format, on a black background, etc.  It would be crap for printing out, but it'd make a great digital map. 


Tuesday, January 30, 2018

Music Mixes



Mateusz Wojtowicz has a YouTube channel where he provides his own mixes of hard trance, hardstyle, early hardstyle, and other mixes on occasion (like hardcore, rawstyle, or subground, etc.)  His numbering system is a little odd; this is Hard Trance vol. 10, but that doesn't mean it's the 10th hard trance mix; it means that it's his 10th mix of any style, and that it's hard trance.  (Vol. 9 is Early Hardstyle, and vol. 11 is Hardstyle, for instance.)  He does occasionally have mixes out of order too, as copyright considerations make him have to take a mix down, correct it and then repost it (eventually).

Anyway, this is the kind of stuff that I'm listening to a lot right now; this one in particular has an early Qlimax vibe to it (some of the exact tracks on this mix, I heard on one or more of the Qlimax setlists first).  I want to work my way through his list one mix at a time until I've heard them all, which is a fairly big task, as he's got nearly 70 of them done now, and they range from just under an hour to the better part of two hours long.

Anyway, I'm a big fan of listening to these prerecorded mixes.  Naturally, it's not the same as actually being at Qlimax back in 2001, or whatever, but I think that EDM and the vinyl obsession don't make a lot of sense.  Digital is where it's at, when the music is digital music to begin with.

One of the things I've always liked about listening to hard trance is that you can really hear it bridge the gap between acid trance and hardstyle quite often.  It's not often that you can have a track with a squelchy 303 bassline right next to one with a pulsing reverse bass bassline and yet they sound like they fit next to each other, but in this mix in particular, hearing "Welcome to Your Nightmare" followed by "Enemies of Earth" shows that it can be done pretty easily.  That's why my favorite EDM is the confluence in the very late 90s and early 00s of those three styles—as they diverged more and more into more crystallized, defined, separate genres, I kind of started liking them a little less.

Not to say that I don't love loads of later, euphoric or whatever hardstyle songs, because I do.  I still get really jazzed when I hear a good Ed E.T. & DTR song, or some of the best of Headhunterz, TNT and Project One—but my favorite stuff is the hardstyle that really sounds like hard trance and hard trance that sounds like hardstyle, and a willingness of both to use plenty of acid.

The sound, not the drug.

That said; not all of this stuff really is that old.  Hard trance kept going too, even though its general popularity has waned since it's peak of the early 00s.  "The Rotten Egg" in that mix, by Dark By Design and Dr. Willis, is from 2008, for instance—well after the peak.  Although ten years ago now, too.  I don't know how much you will find from 2017 or other very recent dates, unless its a rerelease or something like that.  I know A*S*Y*S just put out a new kind of retro acid album called Grand Theft Acid, but that's the exception. Along with that, they released a few new mixes of their classic "Acid Nightmare" while at it.  I have to admit that much of what I'm exploring is already older territory here.

One of the side effects of liking that label confluence is that the comments sections are often filled with arguments about whether or not such and such a track "fits" the mix, or if it belongs to a different label than the mix is supposed to be.  The Activator track listed here is one that Activator himself has called subground, for instance, in his attempt to revive a scene that he thought was tired.  It just sounds like a slightly more relaxed hardstyle track to me, though.  Then again, that's all subground really is.  But neither is really hard trance exactly, is it?

Friday, January 26, 2018

Friday Art Attack

I'm not as much a fan of the waifu warrior as some people, but you've gotta admit, no matter what else you may think, that that's both a good looking elf babe and a compelling image.

Even if she's hard to take seriously as a real warrior.


I'm not sure exactly what's going on here, but I'd like to think that sometimes spells just go really, really badly for the caster, and you get screwed.  Or immolated.


That doesn't seem very sporting to attack a poor, helpless girl (or maybe it's a stripling kid with a "man" bun; can't tell for sure) when you're already riding on a Triceratops.


I'm not really a Japanophile (or other Orientophilia either, for that matter) to nearly the degree that many nerdy people are.  I've never managed to get into anime all that much.  I've never been all that excited by Oriental Adventures.  I don't even like watching Hong Kong theater that much, except for the movies with really good stunts.  This is a pretty cool image, though.


When you really want a cowboy vibe but refuse to have firearms, I guess you come up with some kind of crossbow that looks like a rifle and smaller one that looks like a big pistol and dress up like a cowboy anyway.


Some gamers really decry the whole fantasy Star Wars cantina vibe, while others embrace it.  This image makes it look kinda cool, mostly. And all things considered, it's not as exotic as it could be; those are pretty standard post-D&D fantasy races pictures there.


It's funny, but once upon a time, I thought it would be really cool to have a fantasy setting with therapsids as the main animal life.  This is a pack of Cynognathus having just killed a Kannemeyeria in South Africa's Karoo 245 million years ago; before the rise of the dinosaurs.

Luckily, I realized that indulging my own particular spergy interests was probably a bad idea, so I ditched the idea.  Sigh. I wish I could safari with these bad boys, though.


And these too.  From my own hometown area of Texas and Oklahoma we have Acrocanthosaurus eating a Sauroposeidon.  


That's a weird giant monster, that has almost a science fictional alien vibe to it.  I don't mind the gonzo approach of mixing the aesthetics, if not even more, though.  In fact, I quite like doing so.


Given that that looks like Orcus himself, I think this swashbuckling Phantom of the Opera probably bit off much more than he could chew.  That's an interesting take on the old demon prince, who's name is derived from a Latin god, which is probably ultimately derived from the Greek god or daemon Horkos.  Keep in mind that to the Greeks, daemon doesn't mean anything at all like our demons, because they were a pre-Christian society.  The word originally (also from Greek daimon) was more like a nature spirit or something; the Germanic word we inherited with a similar meaning is wight.

Of course, in English specifically, wight has also picked up another connotation thanks to Tolkien being bastardized by D&D, and Warhammer, and just about everything else.  


I've always liked this image.  When I was a kid, I always liked the concept of knights and whatnot fighting monsters, which my dad thought was kind of weird (when he was a kid, he was more interested in knights fighting each other.)  What can I say?  Even as a child, my tastes ran towards fantasy, whereas he'd always been a specifically historical buff kind of guy.


The Hallstatt and La Tène Celtic cultures of the continent are our heritage, folks, even though much of their culture has been lost in the intervening centuries.  Sigh.  We may yet lose everything else associated with Western civilization, and Mother Europe, and even whiteness altogether if we're not careful.  I don't think we will; but sadly, we'll have to engage in and be subjected to a great deal of unnecessary bloodshed because of the hateful open borders radical Trotskyism that we've been subjected to.

Meanwhile, this can also double as Lexoviian peoples in TIMISCHBURG, or even aristocratic Eriadorians in MIDDLE-EARTH REMIXED.


Hot witches.  What can I say?  They're hot.  But crazy.  Keep away; hot crazy chicks aren't worth the headache.  There's enough pretty girls who are already nice.